Question description<\/p>\n
ASSIGNMENTS:<\/p>\n
Most of the lessons have three parts: a journal section, a weekly review section, and
\nan essay section. Collect these three parts into a single document.<\/p>\n
I. JOURNALS<\/p>\n
You should write one to two pages for each Unit. A complete \u201cjournal\u201d will include the
\nfollowing four sections:1. Responses to the video. Write for at least ten minutes. You might include in
\nyour responses any of the following:<\/p>\n
a) notes of favorite clips, films, and issues that you would like to pursue further.
\nb) notes of your own film experiences, memories, insights, or critical responses to
\nthe material. It may help to start with \u201cI saw,\u201d \u201cI feel,\u201d \u201cI was inspired by\u201d or \u201cI<\/p>\n
remember.\u201dc) disagreements with points made in the videos.
\nd) reactions to the content of the videos. Describe what struck you most about the<\/p>\n
viewing experience and for what reasons.
\ne) pertinent ideas from earlier videos or chapters.<\/p>\n
2. Report of a discussion. Discuss your responses with another person and write
\nabout your conversation. (Discussing the material is part of the required work of
\nthis class. Your report on your discussion can be very brief, but it should provide
\nevidence that you are doing this part of the work.) Often students find someone
\nwilling to watch the videos with them, but you can also report on a conversation
\nwith someone who did not see the video with you.<\/p>\n
3. Comments on the additional film you saw for each unit. Watch one
\nadditional film each week. If you can, choose a film mentioned in the textbook\u2019s
\n\u201cSelect Filmography\u201d at the end of the assigned chapter (or chapters) for that week.<\/p>\n
4. Responses to the questions listed in each lesson\u2019s \u201cJournal\u201d assignment.<\/p>\n
II. WEEKLY REVIEWS<\/p>\n
Each of the Unit assignments includes a list of key terms.<\/p>\n
For each term, write a brief definition. Don’t make any definitions longer than a
\nparagraph. On the other hand, make them look like definitions and not like crossword
\npuzzle clues. Boldface the terms you are defining, and remember to italicize film
\ntitles.<\/p>\n
Your responses should be<\/p>\n
complete enough to explain the term to someone who never heard it before<\/p>\n
in your own words<\/p>\n
pertinent to the movies.<\/p>\n
When it comes to the grades you will receive on your lessons and in the course, no
\nother part of the work has greater importance than these \u201cWeekly Review\u201d definitions
\nand identifications, so please do your most careful work on them. When you can, use
\none or two short examples (for example, representative names or film titles.)<\/p>\n
10<\/p>\n
III. ESSAYS<\/p>\n
Each week\u2019s lesson also includes an \u201cessay\u201d section. Write one to three well-
\ndeveloped, carefully-proofread paragraphs for each essay question that you answer.
\nMake your essay something different from what you already wrote in your journal.<\/p>\n
PAPERS<\/p>\n
Paper 1: Film Review<\/p>\n
Write a film review. Copy the style and format of a review you like (but don’t copy a
\nreview of the same film). Choose as your model a review that is at least five
\nparagraphs long. Include a copy of the review you are using as a model, and not just
\na hyperlink. (If you do not include a copy of the review you modeled yours after, I will
\nreturn your work marked \u201cincomplete\u201d and \u201cnot accepted.\u201d) I enjoy the reviews
\npublished by The Stranger (web-posted) and Stuart Klawans\u2019 reviews in The Nation
\n(which you can access through the Seattle Central library website.) The film reviews
\nposted for most films at the Internet Movie Database (www.imdb.com) under the link
\n\u201cexternal reviews,\u201d often begin with the late Roger Ebert\u2019s Chicago Sun-Times
\nreviews. I recommend those as well. Write one to three pages.<\/p>\n
If your model review includes a sidebar listing the credits or other fancy formatting,
\ntry to follow that part of your model also!<\/p>\n
Remember to make it sound like a review. Most readers do NOT want to read a long
\nrecitation of the plot. Do not give away the whole story, especially the ending.
\nWhat was good and bad about the film?<\/p>\n
When watching the film, try to notice as many aspects of the production as you can,
\nincluding lighting, sets, costumes, dialogue, acting, cinematography, editing, and so
\nforth. In writing your review, however, focus only on those aspects that seemed most
\nimportant to your reactions to the film. (For example, if the editing was not unusual or
\nespecially interesting, then do not waste time mentioning it!)<\/p>\n
A well written review tells the readers what you thought about the film and why and
\nalso helps the readers decide whether they might enjoy the film themselves. Do not
\nconclude by saying \u201cI recommend\u201d or \u201cI don’t recommend\u201d this film. By the conclusion
\nof your review, your readers should already know which aspects of the film you
\nthought were commendable and which were not.<\/p>\n
In addition to the information and format, I will be looking at your writing style. Can
\nyou be entertaining as well as informative? Have fun with this one.<\/p>\n
11<\/p>\n
Paper 2: Shot-by-shot description of a scene<\/p>\n
If we are to discuss film as a medium, then we must have a shared vocabulary for
\ndescribing what we see. For Paper #2, describe a short film sequence (30 seconds
\nor less) from a major Hollywood movie. Tell the name of the film you are using for
\nthis assignment, and briefly mention how the sequence you are describing fits into
\nthe larger story. Watch it on web video so you can play it back many times (or on
\ntape or DVD, if the scene you chose is not web-posted.) Use cinematic terms from
\nthe first three units of the course (Videos 1 – 3, Supplementary Units 1 and 2, and
\nthe textbook chapters). For example, identify close-ups, long shots, establishing
\nshots, matching shots (all three types), lighting, cuts, and dissolves.<\/p>\n
Be careful to accurately number the shots that you are describing.<\/p>\n
If you use a web-posted video as your source, tell the URL and the time
\n(in minutes and seconds) at which the scene you are describing begins.<\/p>\n
Once you have described each shot individually, try to draw connections between
\nthem. What does each shot express individually? Explain how these techniques
\naffected your reactions to the film. For example, quick cuts might create a sense of
\nspeed, fear, or excitement. Soft focus and slow dissolves might create a feeling of
\nromance. Describing the film’s technique is this assignment’s primary goal. The
\nsecondary goal is to think through how these technical decisions affect your
\nexperience of the film’s story.<\/p>\n
Although both the Paper One and Paper Two assignments involve studying a film
\nand understanding how it achieves its effects, don’t mix up the two assignments.
\nPaper One should not be cluttered with details about individual shots. Paper Two
\nshould not look like a film review. Here’s an example demonstrating the
\nsuggested format for Paper 2:<\/p>\n
I have chosen 30 seconds from the final scene of Singin\u2019 In the Rain (1952), a great
\nmusical based on the songs co-written by Arthur Freed. Freed was a graduate of
\nBroadway High School, which existed on the site where Seattle Central College now
\nstands.<\/p>\n
I am describing the first 30 seconds of the scene posted at:
\nhttp:\/\/www.youtube.com\/watch?v=9LVgr-nk1mM. They show Lina Lamont (played by
\nJean Hagen), a character who had been a star of silent movies, trying to disguise the
\nfact that her voice had been dubbed in her new talking picture, by fooling an audience
\ninto thinking that she can sing.<\/p>\n
Shot # 1: The sequence begins with a LOW ANGLE LONG SHOT of Lina on stage, in a
\nspotlight, in front of a huge curtain. We hear a small rustle of applause. The conductor
\nasks what she will sing. In the foreground we see about a dozen formally-dressed
\nmusicians, so we know this is a big occasion. CUT TO<\/p>\n
12<\/p>\n
Shot # 2: a LOW ANGLE MEDIUM SHOT of Lina, still standing in front of an old-
\nfashioned microphone. Her fancy headband flashes quickly with reflected light. She
\nsmiles nervously and backs toward the curtain. The Camera TILTS DOWN very slightly
\nto follow her motion. CUT TO<\/p>\n
Shot # 3: a MEDIUM SHOT of Kathy Selden (played by Debbie Reynolds), clutching a
\nsimilar microphone and leaning forward (to the left) to whisper \u201cSinging in the Rain\u201d to
\nthe curtain (and presumably to Lina on the other side of the curtain, whose question
\nshe is answering.) Kathy, against her will, will be doing the actual singing while Lina
\nmimes the words on stage. CUT TO<\/p>\n
Shot #4 a shot that mirrors the previous LOW ANGLE MEDIUM SHOT (shot #2): the
\ncamera TILTS UP slightly as Lina approaches the microphone and tells the conductor
\n\u201cSinging in the Rain.\u201d CUT TO<\/p>\n
Shot #5 a POINT OF VIEW MATCH to a HIGH ANGLE SHOT of the conductor telling his
\nmusicians \u201cSinging in the Rain.\u201d Behind him we see formally-dressed audience
\nmembers sitting in the first three rows. He asks her the key. CUT TO<\/p>\n
Shot #6 a POINT OF VIEW MATCH to that familiar LOW ANGLE MEDIUM SHOT of Lina,
\nas seen by the conductor. As in shots 2 and 4, she backs to the curtain (with the
\ncamera TILTING DOWN), hears Kathy whisper A\u266d, and then returns to the microphone
\n(with the camera TILTING UP.) CUT TO<\/p>\n
Shot #7 a return to ina\u2019s POINT OF VIEW MATCH to a HIGH ANGLE SHOT of the
\nconductor, as seen in shot #5, telling his musicians the key and preparing to begin.
\nThe song begins. CUT TO<\/p>\n
Shot #8 another LOW ANGLE MEDIUM SHOT of Lina, this time smiling and moving her
\nelbows up and down a little foolishly as she prepares to sing CUT TO<\/p>\n
Shot #9 a MEDIUM SHOT of three men facing forward in a line. First Cosmo Brown and
\nthen R.F. Simpson and Don Lockwood, all formally dressed and standing backstage,
\nmake matching rhythmic arm movements and smile sadistically.<\/p>\n
The bright color photography and HIGH-KEY lighting throughout this scene help
\nestablish that it is a comedy.<\/p>\n
Paper 2 can take a lot of time, but often I have no comments to add after I read
\nthem. (My main comments usually have to do with keeping track of how many
\nshots you are looking at.) Pick a scene that you will enjoy studying in detail.<\/p>\n
IV. FINAL EXAM<\/p>\n
The final examination is a two-essay assignment that you turn in like the others,
\nnot a special event that involves working under a proctor\u2019s supervision.<\/p>\n
The questions appear in the back of this course guide.<\/p>\n
13<\/p>\n
Unit 1: The Hollywood Style
\nRead & View<\/p>\n
\u2022 Chapter 1: \u201cThe Emergence of Cinema as an Institution\u201d
\n\u2022 Chapter 2: \u201cClassical Hollywood Cinema: Narration\u201d<\/p>\n
\u2022 Chapter 3: \u201cClassical Hollywood Cinema: Style.\u201d
\n\u2022 Video 1: \u201cThe Classical Hollywood Style\u201d<\/p>\n
Learning Objectives<\/p>\n
Understand the basic narrative and stylistic components of the Hollywood Style.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section above, under \u201cJournals\u201d). Make
\na list of what you associate with the word \u201cHollywood.\u201d In other words, if someone
\ndescribed a film they had recently seen as \u201cvery Hollywood,\u201d what would you think
\nabout it? Would your sense of \u201cHollywood\u201d change if you were thinking of a movie
\nfrom the 1930s rather than a current film? [Spoiler warning: the video shows part
\nof the ending of Casablanca. (That doesn\u2019t bother me, but a few students
\ncomplained. If you have not seen Casablanca yet {and most of us have not}, please
\ndo!)]<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
\u2022 seamless editing\u2022 Citizen Kane\u2022 three point lighting (name and describe the three \u201cpoints\u201d)
\n\u2022 matching shots (name and describe the three types)\u2022 cut\u2022 dissolve\u2022 low angle shot\u2022 180 degree rule<\/p>\n
Essays<\/p>\n
Define the classic Hollywood style.<\/p>\n
Construct a simple sequence that conveys the following information: two people who
\nhave not seen each other for a long time meet by chance. Use no more than five
\nshots. Describe each type of shot and cut. For example, you might (or might not) use
\na close-up or a dissolve.<\/p>\n
14<\/p>\n
Unit 2: The Studio System
\nRead & View<\/p>\n
\u2022 Chapter 4: \u201cThe Studio System\u201d
\n\u2022 Video 2: \u201cThe Studio System\u201d<\/p>\n
Learning Objective<\/p>\n
Understand how the business of filmmaking developed historically and how economics
\nshapes film content, production, and distribution.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section above, under \u201cJournals\u201d). What
\nwas most surprising about the \u201cstudio system\u201d?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
\u2022 vertical integration
\n\u2022 oligopoly\u2022 block booking\u2022 blind bidding<\/p>\n
\u2022 United States v. Paramount Pictures, Inc., et al.<\/p>\n
(If necessary, use dictionaries and other supplementary materials, but be sure that
\nyou avoid plagiarism; that you tell where you got your information; and that you
\nmake clear how your answers connect to the subject of the Hollywood studio system.)<\/p>\n
Essay<\/p>\n
How did the studio system affect film content in the 1930s and 1940s?<\/p>\n
15<\/p>\n
Unit 3: The Star
\nRead & View<\/p>\n
\u00a0Chapter 5: \u201cThe Star System\u201d<\/p>\n
\u00a0Video 3: \u201cThe Star System\u201d<\/p>\n
\u00a0Supplementary Unit 1: \u201cFilm Language\u201d<\/p>\n
\u00a0Supplementary Unit 2: \u201cThinking and Writing About Film\u201d<\/p>\n
Learning Objective<\/p>\n
Understand what makes a star; how the film business uses stars; and the roles of
\nstars in society.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video about stardom, describing
\na conversation you had with another person about it, and commenting on an
\nadditional film you saw for this unit (as described in the Assignments section above,
\nunder Journals). Who are your favorite stars and why do you like them? In what films
\nhave you enjoyed their performances? In what ways have your ideas about
\nmasculinity or femininity been affected by film?<\/p>\n
Weekly Review<\/p>\n
Define<\/p>\n
Essay:<\/p>\n
What are some economic reasons for the star system?<\/p>\n
JOURNAL FOR SUPPLEMENTARY UNITS (attach to a separate email message)<\/p>\n
Write one to two pages of journal, responding to the half-hour supplementary videos
\n(11 \u201cFilm Language\u201d and 12 \u201cWriting and Thinking About Film\u201d) and describing a
\nconversation you had with another person about it, as described in the Assignments
\nsection above, under \u201cJournals.\u201d (This assignment is simpler than the others. It
\nincludes no definitions or essays and has no reading assignment.)<\/p>\n
[These videos are on the last disc of the DVD set. The \u201cWriting and Thinking
\nAbout Film\u201d video tells the ending of Fritz ang\u2019s Scarlet Street (1945.)]<\/p>\n
or identify:<\/p>\n
persona
\ntypecasting
\nUnited Artists
\nKonstantin Stanislavsky ( )
\nJudy Garland<\/p>\n
16<\/p>\n
Unit 4: The Western<\/p>\n
Read & View<\/p>\n
Chapter 11: “The Making of the West” Video: \u201cThe Western\u201d<\/p>\n
Learning Objective<\/p>\n
Identify the components of the western genre film (stereotypes, plot motifs, settings,
\nmyths); and how changes in the genre correspond to changes in society.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section above, under Journals). Do you
\nlike Westerns? Why or why not?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
B picture<\/p>\n
Manifest Destiny<\/p>\n
stereotypes<\/p>\n
genre<\/p>\n
(Reminder: if you use dictionaries and other supplementary materials, be sure that
\nyou avoid plagiarism; that you tell where you got your information; and that you
\nmake clear how your answers connect to the subject of Westerns.)<\/p>\n
Essay (choose one)<\/p>\n
(1) Select the opening scene of a Western and describe it in detail. Name the shots
\nand explain how they relate to genre conventions.<\/p>\n
(2) Are westerns a \u201cguy genre\u201d? Most people think so. What do westerns suggest
\nabout masculinity and femininity? Why might they appeal to boys more than to
\ngirls?<\/p>\n
17<\/p>\n
Unit 5: Romantic Comedy<\/p>\n
Reading<\/p>\n
Chapter 8: \u201cAmerican Comedy\u201d Video 5: \u201cRomantic Comedy\u201d<\/p>\n
Learning Objectives<\/p>\n
Identify the components of the romantic comedy (stereotypes, plot motifs, settings,
\nmyths); and how changes in the genre respond to changes in society.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section above, under \u201cJournals\u201d). Have
\nyou seen any screwball comedies of the 1930s or 1940s? If not, try to see one this
\nweek. [Spoiler alert: the video gives away the last shot of Some Like It Hot (1959.)]<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
\u00a0the Tramp<\/p>\n
\u00a0animal comedy<\/p>\n
\u00a0Frank Capra<\/p>\n
\u00a0Production Code<\/p>\n
Essays (choose one)<\/p>\n
(1) \u00a0What were the connections between screwball comedies and the Depression?
\nWhat were the connections between screwball comedies and censorship?<\/p>\n
(2) \u00a0What does the textbook say about how comedies work to achieve “social
\ncohesion, integration, and regeneration”? (Show evidence that you read what the
\ntextbook said about this.)<\/p>\n
18<\/p>\n
Unit 6: The Combat Film<\/p>\n
Read & View<\/p>\n
Chapter 9: \u201cWar and Cinema\u201d Video 6: \u201cThe Combat Film\u201d<\/p>\n
Learning Objective<\/p>\n
Identify the components of the combat film (stereotypes, plot motifs, settings,
\nmyths); and how changes in the genre relate to American military history.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section above, under \u201cJournals\u201d). How
\ndo you feel about the way war is represented in combat films?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
stereotypes in combat films<\/p>\n
newsreels<\/p>\n
Office of War Information<\/p>\n
pacifism<\/p>\n
(Reminder: show how these are connected to the subject of combat films.)<\/p>\n
Essay (choose one)<\/p>\n
(1) \u00a0How have combat films portrayed noncombatants? What stereotyped roles do
\nnonmilitary people have in these stories?<\/p>\n
(2) \u00a0How did combat films made during World War II differ from combat films made
\nafter the Vietnam War? Use specific examples to support your points.<\/p>\n
19<\/p>\n
Unit 7: Film Noir
\nRead & View<\/p>\n
Chapter 10: \u201cFilm Noir: Somewhere in the Night\u201d Chapter 13: \u201cHollywood and the
\nCold War\u201dVideo 7: \u201cFilm Noir\u201d<\/p>\n
Learning Objectives<\/p>\n
Identify the components of film noir (lighting, music, stereotypes, plot motifs,
\nsettings, myths), and consider film noir in its historical context.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section, under \u201cJournals\u201d).<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
cinematography<\/p>\n
\u00a0German Expressionism<\/p>\n
\u00a0deep focus<\/p>\n
\u00a0\u201cThe Hollywood Ten\u201d<\/p>\n
Essay (choose one):<\/p>\n
(1)<\/p>\n
(2)
\n(3)<\/p>\n
How do noir films make you feel? How does the music, lighting, and setting
\ncontribute to these feelings? What might explain why \u201cnoir\u201d feelings were more
\nfrequently expressed in the films of the 1940s than in those of the 1930s or
\n1950s?<\/p>\n
What makes a film seem \u201crealistic\u201d?What lessons can we learn from Hollywood\u2019s experiences of the Cold War?<\/p>\n
20<\/p>\n
Unit 8: Film in the Television Age
\nRead & View<\/p>\n
Chapter 14: \u201cHollywood in the Age of Television\u201d Video 8: \u201cFilm in the Television
\nAge\u201d<\/p>\n
Learning Objective<\/p>\n
Understand how television affected Hollywood film economics, how television content
\naffected film content, and how the film industry adopted new technologies to fight
\nback.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section, under \u201cJournals\u201d). What are
\nsome differences between seeing a film in a theater and as a video?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
anamorphic lens
\nletterboxCinerama3-D<\/p>\n
Essay (choose one):<\/p>\n
(1) How did the changing film business in the early years of TV influence the types of
\nfilms produced?<\/p>\n
(2) How did widescreen projection change film content?<\/p>\n
21<\/p>\n
Unit 9: The Film School Generation
\nRead & View<\/p>\n
Chapter 15: \u201cThe 1960s: The Counterculture Strikes Back\u201d Chapter 16: \u201cThe Film
\nSchool Generation\u201dVideo 9: \u201cThe Film School Generation\u201d<\/p>\n
Learning Objective<\/p>\n
Identify the major film school generation directors\/producers and how they changed
\nfilm content.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section, under “Journals”). Do you like
\nthe new generation more than the old? Why or why not?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
Easy Rider<\/p>\n
Roger Corman<\/p>\n
auteur theory<\/p>\n
the French New Wave<\/p>\n
blaxploitation<\/p>\n
Essay (choose one):<\/p>\n
(1) Who are the film school generation directors? How did the economics of the film
\nindustry allow these directors to come to the fore?<\/p>\n
(2) How did Hollywood address the problem of racism in the 1960s?<\/p>\n
22<\/p>\n
Unit 10: The Edge of Hollywood<\/p>\n
Read & View<\/p>\n
Chapter 17: \u201cInto the Twenty-first Century\u201d Video 10: \u201cThe Edge of Hollywood\u201d<\/p>\n
Learning Objectives<\/p>\n
Understand how the film industry encourages and discourages independent film
\nmakers; identify the influence of genre films on independent films.<\/p>\n
Journal<\/p>\n
Write one to two pages of journal, responding to the video, describing a conversation
\nyou had with another person about it, and commenting on an additional film you saw
\nfor this unit (as described in the Assignments section, under \u201cJournals\u201d). Which
\nindependent films do you like? Dislike?<\/p>\n
Weekly Review<\/p>\n
Define or identify:<\/p>\n
Reaganite cinema<\/p>\n
Independent cinema<\/p>\n
Fantasy films<\/p>\n
digitization<\/p>\n
(Reminder: use examples of specific films, when appropriate, in your definitions!)<\/p>\n
Essay<\/p>\n
What are some of the relationships between independent filmmaking and Hollywood?
\nWhat do independent filmmakers and the Hollywood motion picture industry get from
\neach other?<\/p>\n
23<\/p>\n
FINAL EXAM<\/p>\n
Choose two out of the following four essay topics to write about. Each essay should
\nbe about five paragraphs long.<\/p>\n
Rewrite the question into the first paragraph, so your answer makes sense without
\nhaving to read the question.<\/p>\n
Formatting, spelling and grammar count. Spell-check, copy-edit and proofread your
\nessays.<\/p>\n
Do some research with the library resources. Don\u2019t rely simply on your own
\nmemories or on a websearch of publicly-available sources like Wikipedia. Put both of
\nyour essays in a single document.<\/p>\n
1) \u00a0Describe the career of an individual associated with motion pictures (such as a star
\nor other actor, a director, or a writer.) How do you explain their success (or lack of
\nsuccess)? What makes that career worth remembering? Use examples from at
\nleast two of their films<\/p>\n
2) \u00a0Describe how one film genre has changed over time. How do these changes
\ncorrespond to the changes in American society? Refer to at least four specific films
\nfor your examples.<\/p>\n
3) \u00a0Compare two or more versions of a film that has been remade. How do changes in
\nfilmmaking technology, the organization of the film industry, the personalities of
\ntheir directors, audience tastes, or other things contribute to the changes we see
\non the screen? (I offer these items merely as suggestions of some of the things
\nyou might consider when trying to understand the differences. Do not waste time
\nin this essay talking about things that made no difference or that you can find no
\ninteresting and directly pertinent information about.) You can find suggestions for
\nfilms to compare by looking at the Internet Movie Database\u2019s \u201cmovie connections\u201d
\ntab for films that you liked, and checking to see if anything appears listed as a
\n\u201cversion of\u201d or \u201cremake of.\u201d Titanic (1997), appears in that database as a \u201cversion
\nof\u201d six other films, including A Night to Remember (1958.) The<\/p>\n
Nutty Professor (1996) was a \u201cremake of\u201d a film by the same title released in
\n1963. You are not limited to connections that the Internet Movie Database has
\nalready made for you.<\/p>\n
4) \u00a0Compare two or more films that deal with similar subject matter. I think, for
\nexample, that it might be interesting to compare Destination Moon (1950) and
\nApollo 13 (1995.) These are both feature films that attempted to dramatize a
\nspace mission very realistically (one as a prediction of the near future, and the
\nother as a dramatization of the recent past.) The Internet Movie Database\u2019s \u201ckey
\nwords\u201d tab can help you find connections between different films (though you do
\nnot have to limit yourself to what they have said.) How about A Mighty Wind
\n(2002) and Wasn\u2019t That a Time (1982)? Choose films you love or hate.\u00a0<\/p>\n","protected":false},"excerpt":{"rendered":"
Question description ASSIGNMENTS: Most of the lessons have three parts: a journal section, a weekly review section, and an essay section. Collect these three parts into a single document. I. JOURNALS You should write one to two pages for each Unit. A complete \u201cjournal\u201d will include the following four sections:1. Responses to the video. Write […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1,6515,8569,8567,8568,8570],"tags":[5882,6803,4009,7294,7293],"class_list":["post-47643","post","type-post","status-publish","format-standard","hentry","category-dissertation-writing","category-essay-writing","category-homework-assistance","category-online-assignment-help","category-paper-writing-services","category-write-my-essay-2","tag-best-essays-uk","tag-dissertation-topic-help","tag-do-my-essay-assignment-in-ireland","tag-essay-for-sale-australia","tag-help-with-writing-an-essay"],"_links":{"self":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts\/47643","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/comments?post=47643"}],"version-history":[{"count":0,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/posts\/47643\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/media?parent=47643"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/categories?post=47643"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.colapapers.com\/us\/wp-json\/wp\/v2\/tags?post=47643"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}